The Memphis appeal. [volume] (Memphis, Tenn.) 1886-1890, 1887-01-19

These were acknowledged sue
cesses, and they came one at a
time. II seems that the stage can
hold but one "Falstaff," and DeBar
was Hsckett's legitimate successor.
Many other actors of good repute and
position esssyed the part after Hack.
ett's final exit, but found themselves,
In one respect and another, unequa
to lis exsctiDg demands, and soon
abandoned the field. Among them
were Marx Smith and John Jack. De-
Bar began the study late in life, was
accepted and Endorsed in several
cities, but did not enjoy his
trumphs long. He is, how
ever, enshrined as "Falstsff" 10 tab
let OIL the Shakespeare Monument in
Tower Grove Park, st Louis, and this
act of Mr.. Henry Shaw is ons of
the noblest tribates OF recognition
and memory every paid to an actor.
And since Ben DsBar died "Fa staff
has been absent from the Stage. There
is not oue in Englaod, and there hos
not been one foc many years. But
now comes VIM, Ii. Crane, Of the
noted dramatic combination and CO.
partnership, "Robson & Crane" who
have made fame and fortune in their
Snakespesrean revival oisThe Comedy
of Errors, and the advent OF
a new "Falststf" must he recorded,
and the play in which THE "Faktaf''
comes to judgment is The Merry WINS
Of Windsor. This play WIS chosen be
cause it is essentially Comody, ani
from the fact that it gives Mr.. Stuart
Robson opportunities for the display
OF his unique qualities rs SLENDER"
"Fa's.atf" is recent study of DIR.
Orsne, and as such ii is marvelously
round and ripe. There may bs few
Inequalities, and, now and then,
shade o. self CONSEQUENCES; but tness
do not impair the general effect of the
figure and the work, aud they will
gradually disappear from the surface.
1t IL an easy mater 10 get into "Fal-
staff 3" clothes and supply all the ma.
terisls of make up" But "Falstafi"
must be there, or the product is a
bald buffoon. The doublet and Lose
must live and palsate with the hu.
mors of The prodigy OF flesh. "Fal-
st9tt must be es palpably in his
clothes "a hs is under the clothes in |
the buckbasket, where he is comic
al, while invisible; and VIM. ii.
Crane ia "Falstaff in full dress,
with his roundedproportlous, massive |
movement and unctuous humor, and |
without e. ossness or WI garity. While |
he T aches all The legitimate comic sf-
fects, he draws ths line within the |
bounds OF polite propriety. His facial |
play Is marvel Of expressiveness, and |
never descends to mere "mugging. L. |
reveals the thought before he speaks
the lines, and proves that this "Fal-
stetf is true artistic conception
grown from witbin-and has not |
been piled on outwardly. The |
motive, the meaning, the soul,
shine through the corpulent ex-
aRgerstion, aud illustrate the adage,
Laugh and grow fat" The actor
sinks himself, and is completely swell
lowed mp in the character, and this is
all that need be said here OF Cranes
"Falstdtt." Another "Falstafi" has
come to the stage-a worthy sue.
cessor Of the great ones who have
been before. Robson, aR SLENDER"
has comparatively Little t. say or do.
but he says and does thst ii tie well.
He moves through the sc mes a true
SHAKE spearian figure, and his
oft repeated "Sweet Aune Paine"
is like piping bird sing
in the woods OF Winds r. The
Robson & Crane production Of the
Merry WiUes Of Windsor ia c5napcu.
ously tasteful in eli The details Of |
scenery, setting and cast. II has the |
aroma Of old merry England when
great wits held high carnival at The |
Garter and the Mermaid, and when
the Globe was the temple for the con.
secration Of genins and the browning
of immortals. THOMAS Il. GARRETT.